Sartre on Theater by Jean-Paul Sartre

By Jean-Paul Sartre

Approximately every thing that Sartre has acknowledged or written concerning the theater and his personal performs is assembled during this ebook. it's the just one of his books that he didn't compose as such. not like occasions, volumes made of essays, lectures, and interviews which have been now not initially meant as a set both, this ebook was once now not Sartre's personal idea.
We steered it to him simply because we came across, even ahead of our mixed annotated biography and bibliography, The Writings of Jean-Paul Sartre, used to be released (in French through Gallimard in 1970), ebook of this type may fill a necessity and will be necessary as a operating device either from the historic and documentary point of view and from the perspective of ultra-modern relevance.

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Lastly, this language must be irreversible, that is to say it must be necessary precisely because it involves a commitment and because, as we have seen, foresight is required; at all times a sentence must be placed so that it could not be placed elsewhere than where it is. Now, if we use these three means, will we manage to make the script move in a special way that will specifically be a way that gives it distance? That is to say, will we manage to make it precisely hard and imperative enough to put the actor out of reach if we use the most ordinary, the most banal words?

X. About speaking exactly as everyone does, take one example: Cesaire,13 which Vilar has staged. A sailor is speaking; no sailor, of course, ever spoke like that, but the audience believed that no sailor could ever have spoken any other way, it swallowed it whole. Yet it was precisely the opposite of speaking as everyone does. SARTRE That was because there were two different elements in Cesaire: Schlumberger's plays do, I think, have a 22 SARTRE ON THEATER rhythm; he's an author who writes with a rhythm and takes pains about it; but I do find that the words he used were not words that everyone uses.

It sounds as if it has elevation, but it's a theatrical language, not a language of the theater. You get the same thing with poetry. Poetry in the theater is not poetic language, because poetry is something you can hear from a distance. Poetic language always falls short. X. A minor example: "Ah quelle cruaute a vous brasser du mal" in Antigone. The adapter took it upon himself to transcribe it as "a vous faire du mal," probably to avoid a word not used by everyone. Do you ban "brasser du mal," an On Dramatic Style 25 expression that we certainly never use?

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